Been listening to Badalamenti's Dark Space Low on repeat now for quite a while. Absolutely love this. Trouble is, it's only 2:15 long, which is why I have it on repeat -- it's way, way, too short. Twenty minutes would have been the absolute minimum I would have preferred for a track as good as this.

Shades of the aeolian harp; so moody and beautiful.

It's been a wild, uneven ride to get to this point, yet it is so completely soothing to just soak in this track. It's like a bath for the soul.

As a matter of fact, 'Chalfont' was the name of the people that rented this space before. Two Chalfonts. Weird, huh?

Another thing I thought; hearing the music in isolation from the visuals made me realize just how Lynch showcased Badalamenti's pieces. In Part 8, he lets 'The Fireman' unfold in a reverie. 'Dark Space Low' only being used with the final shot of Cooper and Laura. Besides 'The Chair', much of Badalamenti's work is often used only once in the whole show. It makes it that much more potent for me, and inseparable with the intention. It's a contrast to 'Laura Palmer's Theme' being used for every mysterious/sad moment in the original seasons.

Another thing I thought; hearing the music in isolation from the visuals made me realize just how Lynch showcased Badalamenti's pieces. In Part 8, he lets 'The Fireman' unfold in a reverie. 'Dark Space Low' only being used with the final shot of Cooper and Laura. Besides 'The Chair', much of Badalamenti's work is often used only once in the whole show. It makes it that much more potent for me, and inseparable with the intention. It's a contrast to 'Laura Palmer's Theme' being used for every mysterious/sad moment in the original seasons.

"Farewell / Accident Theme" was also used for two scenes, both the ep. 6 accident and Cooper saying goodbye to Janey-E and Sonny Jim in ep. 16.. i really agree with you that the way they utilized the music in the new series was really potent and hard hitting!!

there was a Thought Gang song in episode 15 called "Summer Nights" and a user posted this on YouTube. no clue if it's the real thing:

Mystery Roach wrote:Am I the only one who actually likes Lissie's song? It isn't my usual taste, but it came to me at a time when I needed to hear those words, so I have nothing bad to say about it.

Not at all. I love Wild West with all my heart. Lots of energy and optimism and the singer has an interesting voice. It's one of those songs that temporarily immunise me against my usual fussiness over music styles or genres; sometimes I can like a song in its singularity.

There's not really a song on the Roadhouse album that I can seriously dislike. Well, maybe I Am by Blunted Beats. But that probably because I didn't like the context it was used in, and not something inherent to the music. Unfortunately I am forever going to associate it with Lorraine being ridiculously killed and Ike the Spike running in and out of rooms like a Scooby-Doo villain.

I also found the Cactus Blossom's Mississippi far more interesting a song than I originally thought it was after listening a few times. Green Onions is a big favourite too, and helps me with the housework.

Snake Eyes, Axolotl, Out of Sand are also getting a lot of airplay here.

Late evenings though I'm chilling out to the score album. I have Johnny Jewel's Windswept on right now.

As a matter of fact, 'Chalfont' was the name of the people that rented this space before. Two Chalfonts. Weird, huh?

Oh good I'm glad it isn't just me then. Yes I adore Windswept too. The moment TR really clicked for me was in Part 6 when Dougie was exposing the insurance scam and I thought, "THAT's where the jazz vibe of Twin Peaks landed in this incarnation. It's more somber and reflective, but breezy and oh so moving. That whole album is a fantantistic companion piece that does a great job of capturing a certain mood.

Out of Sand is still my favorite artist track, followed by No Stars and then probably Wild West. Axilotl didn't do much for me at first but it's definitely been growing on me lately too. And Mississippi was an early favorite that I still like a lot. I really love it all. Great selection across the board, and a good mix of old and new, both in the songs and the score.

It's weird, because there are basically three different composers handling different elements of the score, but it all works well together without any of them stepping on each other's toes. To be honest, as much as I love Badalamenti, and his tracks are incredibly special, I think it's pretty unfair that he's credited as the sole composer when he contributed so little of the new music.